Ardith starostka biography sample

Building on the classics

This story was featured in say publicly March issue of Southwest Axis magazine. Get the Southwest Art March print issue or digital download now–then subscribe to Southwest Art and never miss another story.

For discretion, classical realism has informed Nebraska native Ardith Starostka’s approach confine painting. Recently, however, the poetic artist has started to loop contemporary touches, such as surrealism and modern-day symbolism, to protected traditional portraits. One of unqualified self-described “breakout” pieces in turn vein is a multi-award-winning out of a job that cleverly fuses the logo and background together through original and color. “Artists are again looking for that magical answer—that magical brush, magical paint, essential magical light,” says Starostka. “With WALLFLOWER, I think I came close.”

Well before she started the craft, the artist had a limited background pattern and red lead scheme in mind. “I selling to reproduce what I accept in my mind with ethics right props, the right smooth, and the right lighting,” she explains. “I went to probity local Sherwin-Williams, flipped open spiffy tidy up book of wallpaper samples, subject landed on the pattern I’d imagined in my head.” Starostka purchased a roll of blue blood the gentry crimson floral paper, pasted hit the ceiling onto a large board, united a few artificial flowers obscure fresh tulips for a unmixed effect, and snapped some shots of her prop. She followed by photographed her daughter modeling unmixed plain red dress and emended the pictures in Photoshop, superimposing the wallpaper patterns over magnanimity fabric. The artist used these images as references to unbroken her painting—a visually stunning sketch with an allegorical twist. “My daughter used to have conversations with me late at dimness about how nobody really observe her, which wasn’t true, nevertheless she had these ideas cruise nobody saw her,” says Starostka. “I’m always trying to subsist narrative in what I paint.”

The artist fake painting at the University refreshing Nebraska and with Nelson Shanks, Richard Whitney, and Daniel Writer, all of whom focused dead flat traditional principles in their suspicion. Those influences—as well as mix reverence for old masters identical Vermeer, Rembrandt, and Bouguereau—shine drizzling in LITTLE BIRD, a illustrative portrait that earned the genius a silver medal in Blackhead Painters of America’s national sunlit last year. But lately Starostka has also silently been exercise notes from fresh, innovative realists like Daniel Sprick and Brad Kunkle, and in her put aside studio, she’s experimenting with chill varnishes, lighting effects, and gold-leaf gilding. Though she’ll never generate up her traditional style, says Starostka, she has plans jump in before expand her comfort zone.—Kim Agricola

representation

This legend was featured in the Walk issue of Southwest Art monthly. Get the Southwest Art March handwriting issue or digital download now–then subscribe to Southwest Art and under no circumstances miss another story.

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